GREAT  ENGRAVERS:  EDITED  BY  ARTHUR  M.  HIND 


JOHN   RAPHAEL  SMITH.     LOUISA, 
VISCOUNTESS    STOKMONT     (ROMNEY) 


C.S.  159  [before  1] 


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HENRY  MORSE  STErHENd 


JOHN  RAPHAEL  SMITH 

EIGHTEENTH-CENTURY  mezzotint  is  England's  chief 
glory  in  the  history  of  engraving.  In  line-engraving  and 
etching  England  had  started  a  century  behind  the  continent 
of  Europe,  and  even  then  much  of  the  best  work  produced 
for  a  considerable  period  was  done  by  settlers  from  abroad.  With 
mezzotint,  too,  the  initiative  came  from  abroad,  for  its  inventor, 
Ludwig  von  Siegen,  was  a  German  amateur,  and  most  of  its  earliest 
practitioners  were  German  or  Dutch.  But  very  soon  after  the 
introduction  of  the  new  process,  England  became  the  chief  centre  of 
attraction  to  the  best  mezzotinters  of  the  period,  though  it  was  not 
until  the  beginning  of  the  eighteenth  century  that  an  entirely  native 
school  thoroughly  vindicated  the  title  of  la  Maniere  Anglaise,  by 
which  the  art  was  commonly  known  before  the  end1  of  the  seventeenth 
century. 

Von  Siegen's  discovery  was  first  taken  up  by  the  famous  Prince 
Rupert,  and  for  a  considerable  period  after  John  Evelyn's  notice  in 
his  Sculptura  (1662)  of  the  "New  way  of  engraving,  or  Mezzo 
Tinto,  invented  and  communicated  by  his  Highnesse  Prince  Rupert," 
fame  or  flattery  assigned  to  the  Prince  the  actual  invention  of  the 
art.  But  though  the  discovery  is  now  known  not  to  have  been  his, 
he  is  justly  famous  in  the  history  of  the  art  for  the  most  magnificent 
of  the  early  mezzotints,  the  Great  Executioner  (after  Ribera),  which 
shows  a  real  flair,  and  a  far  finer  artistic  feeling  than  anything  of 
Von  Siegen.  It  was  no  doubt  Prince  Rupert's  interest  in  mezzotint 
when  settled  in  England  at  the  beginning  of  the  reign  of  Charles  II, 
that  was  the  really  determining  factor  in  making  England  the  centre 
of  the  art. 

The  first  century  of  mezzotint  may  be  treated  in  a  later  volume 
of  this  series,  but  in  the  present  place  we  plunge  in  medias  res,  illus- 
trating the  period  in  which  it  reached  its  zenith.  Van  Dyck  was 
just  too  early  to  be  represented  in  contemporary  mezzotint,  so  that 
the  earliest  mezzotinters  largely  reflect  the  paintings  of  Lely, 
Kneller,  Vanderbank,  and  the  host  of  lesser  lights  (chiefly  foreigners) 
who  still  carried  on  the  Van  Dyck  tradition.  But  the  second  part 
of  the  eighteenth  century  saw  the  establishment  of  a  true  English 
school  of  painting,  and  the  great  mezzotinters  of  this  period  find  half 
their  glory,  and  nearly  all  their  popularity,  in  being  the  noblest 
translators  into  the  less  exclusive  medium  of  engraving  of  the 
canvases  of  Reynolds,  Gainsborough,  Romney,  and  Hoppner. 

5 


515156 


GREAT  ENGRAVERS 

Mezzotint  has  only  rarely  been  used  by  the  engraver  ?s  a  means 
of  original  expression.  The  absence  of  lines  and  the  peculiar  rich- 
ness and  depth  of  its  chiaroscuro  make  it  the  finest  medium  for  the 
reproduction  of  oil  painting,  and  neither  painters  nor  engravers  have 
been  slow  to  recognise  its  special  mission. 

A  brief  description  of  the  process  as  in  use  in  the  eighteenth 
century  may  be  some  help  towards  its  appreciation.  To  begin  with, 
the  result  is  obtained  in  exactly  the  reverse  direction  to  that  of  all 
the  other  processes  of  engraving.  The  artist,  having  prepared  a 
plate  that  would  print  quite  dark,  proceeds  to  work  out  his  lighter 
portions.  The  instrument  used  to  prepare  the  plate,  called  the 
rocker,  is  a  piece  of  steel  with  curved  serrated  edge,  with  thread 
smaller  or  larger  according  to  the  quality  of  texture  required.  It  is 
held  with  its  blade  at  right  angles  to  the  plate,  and  the  curved  edge, 
rocked  regularly  over  the  whole  surface  at  many  angles,  causes  a 
uniformly  indented  surface,  with  a  burr,  or  curving  piece  of  metal, 
thrown  up  at  each  indentation.  A  print  taken  from  this  would  print 
black,  much  of  the  rich  quality  of  the  tone  coming  from  the  burr,  as 
in  dry-point.  Then,  with  a  tool  called  the  scraper,  the  engraver 
removes  those  portions  of  the  burr  where  the  lights  are  to  appear, 
working  from  dark  to  light.  The  more  the  surface  of  the  grain  is 
scraped  away,  the  less  will  the  ink  be  retained  by  what  remains,  and 
if  the  scraping  and  burnishing  be  continued  quite  to  the  bottom  of 
the  indentations,  a  smooth  surface  will  be  left  which  will  hold  no 
ink  and  print  white. 

The  name  of  John  Raphael  Smith  has  been  put  at  the  head  of  this 
volume,  as  to  our  mind  that  of  the  greatest  of  the  mezzotinters  of  the 
Reynolds  period.  Other  engravers,  such  as  Valentine  Green  and 
John  Jones,  may  be  no  less  brilliant,  but  none,  except  perhaps  the 
brothers  Ward,  shows  equal  strength  and  originality.  J.  R.  Smith 
was  himself  a  fair  portrait  painter,  and  in  this  and  his  original 
drawings  and  mezzotints  of  society  genre,  he  is  a  thoroughly  typical 
representative  of  the  two  chief  factors  in  the  English  school  of  the 
late  eighteenth  century.  But  his  original  work  is  of  small  importance 
beside  his  unrivalled  power  in  the  interpretation  of  Reynolds  and 
Romney.  His  female  portraits  after  Romney,  one  of  which  stands 
as  the  frontispiece  to  this  volume,  are  among  the  most  exquisite 
productions  in  the  whole  range  of  mezzotint.  Several  of  his  portraits 
of  men,  such  as  Dr.  Richard  Robinson  (after  Reynolds),  might  be  cited 
among  his  strongest  achievements,  but  it  is  surprising  how  com- 
paratively small  is  the  market  value  of  the  best  of  these  beside  the 


JOHN  RAPHAEL  SMITH 

more  popular  full-length  portraits  of  ladies,  such  as  the  Mrs.  Carnac, 
(xxx)  and  Mrs.  Musters  (xxxv).  While  the  former  in  brilliant  state 
might  realise  about  .£5,  rare  early  impressions  of  either  of  the  latter, 
or  of  similarly  popular  portraits,  such  as  Thomas  Watson's  Lady 
Bampfy/de,  or  Valentine  Green's  Ladies  Waldegrave,  might  be  fetching 
many  hundreds  of  pounds.  No  doubt  the  eye  of  the  public  is  set  on 
the  decorative  quality  of  these  magnificent  full-lengths,  and  whatever 
one's  judgment  of  the  comparative  artistic  value  of  the  finest 
mezzotint  after  Reynolds  beside  a  line-engraving  by  Diirer,  it  must 
be  confessed  that  the  mezzotint  makes  by  far  the  more  imposing  wall 
decoration. 

The  enormous  prices  that  have  been  realised  by  mezzotint  in 
recent  years  have  of  course  only  gone  for  brilliant  impressions  in 
perfect  condition,  and  the  quality  of  impression  is  a  more  important 
factor  with  mezzotint  than  with  engravings  in  any  other  process 
except  dry-point.  In  fact  the  rarity  of  good  impressions  in  the  case 
of  both  mezzotint  and  dry-point  comes  from  the  same  reason,  the 
delicacy  of  the  burr  which  gives  to  both  their  deep  velvety  tone. 
Twenty  or  thirty  printings  may  be  quite  enough  to  wear  down  this 
burr,  and  leave  the  later  prints  as  mere  ghostly  reminders  of 
their  former  glories.  In  spite  of  this  many  of  the  most  famous  plates, 
such  as  J.  R.  Smith's  Mrs.  Carnac,  and  John  Jones's  Miss  Kemble 
(C.  S.  42),*  have  yielded  thousands  of  impressions.  The  Mrs.  Carnac 
in  particular,  which  is  still  in  the  possession  of  Messrs.  P.  and  D. 
Colnaghi,  has  been  reworked  from  time  to  time  with  such  skill  that 
even  some  modern  impressions  are  effective.  But  they  have  almost 
lost  all  relationship  with  the  original  work,  so  drastic  have  been  the 
restorations,  and  their  value  is  negligible  on  that  account. 

Modern  photogravure  gives  marvellous  results  in  reproducing  the 
tone  of  oil-paintings.  But  as  a  photo-mechanical  process  that  relies 
on  etching  for  the  work  on  the  plate  there  is  a  complete  absence  of 
the  rich  burr  that  lends  mezzotint  its  incomparable  qualities  of 
texture  and  tone. 

The  engravers  illustrated  in  our  plates  are  arranged  roughly  in 
chronological  order,  and  the  two  first,  Thomas  Frye  and  James 
McArdell,  represent  the  transition  period  of  about  1750.  The 
transition  from  the  fashions  of  the  earlier  half  of  the  century  to  the 
Reynolds  period  is  very  remarkable  in  McArdell's  Duchess  of  Ancaster 
after  Hudson  (11),  and  his  trfnne  Day  after  Reynolds  (iv). 

*  A  different  plate  from  the  one  reproduced  here  as  xxix,  though  that 
also  is  known,  I  believe,  in  modern  impressions. 

7 


GREAT  ENGRAVERS 

Valentine  Green  is,  perhaps,  the  most  popular  of  all  the  English 
mezzotinters,  particularly  for  his  full-length  portraits  of  ladies  after 
Reynolds.  He  is  represented  at  his  best  in  the  Duchess  of  Rutland 
(xix)  and  Countess  of  Salisbury  (xx),  but  a  very  large  number  of  his 
full-lengths  are  empty  in  character  and  too  smooth  in  tone  to  be 
effective  on  so  large  a  scale.  The  Ladies  Waldegrave  (xxi)  is,  per- 
haps, his  most  beautiful  print,  and  far  finer  in  the  quality  of  its  tone 
than  most  of  his  plates,  which  often  tend  to  be  hard  and  metallic. 
But  none  of  his  works  quite  attains  the  variety  of  tone  and  certainty 
of  draughtsmanship  generally  shown  by  Thomas  Watson,  who  is 
best  known  for  his  Lady  Bampfylde  after  Reynolds  (xxn).  Nor 
did  Valentine  Green  at  his  best  produce  anything  so  broad  and  at 
the  same  time  so  delicate  in  style  as  the  Mrs.  Musters  of  his  pupil 
James  Walker  (xlii). 

John  Jones  is  on  the  whole  the  most  convincing  of  the  English 
engravers  in  his  method  of  rendering  the  qualities  of  the  painter's 
brush.  His  plates  of  {Miss  I^emble  after  Reynolds  (one  of  which  is 
illustrated  in  xxix)  and  Mrs.  Charlotte  Davenport  after  Romney 
(xxviii)  are  perhaps  his  most  charming  mezzotints.  He  is  rather  an 
exception  among  his  contemporaries  in  engraving  far  more  men  than 
women,  and  his  Edmund  Burke  after  Romney  (xxvn)  is  one  of  the 
most  superb  examples.  We  have  chosen  our  illustrations  in  several 
cases  from  the  interest  or  beauty  of  the  sitter,  as  much  as  from  the 
value  of  the  mezzotint,  e.g.  Fisher's  David  Garrick  (vn)  and  Laurence 
Sterne  (viii),  James  Watson's  Mrs.  Bunbury  (Goldsmith's  "Little 
Comedy")  (x),  Finlayson's  Elizabeth  Gunning,  Duchess  of  Argyll  (one 
of  the  sisters  so  famous  for  their  beauty)  (xv),  John  Jones's  James 
Boswell  (xxvi),  J.  R.  Smith's  Mrs.  Montagu  (the  first  of  the  "  Blue- 
Stockings)  (xxxiv),  Marchi's  Oliver  Goldsmith  (xlvi),  Doughty's 
Dr.  Johnson  (xlv),  and  Charles  Turner's  Sir  Walter  Scott  (lix). 
Several  of  the  most  attractive  of  all  the  English  mezzotints  are 
done  by  engravers  who  produced  comparatively  little,  e.g.  Doughty's 
Dr.  Johnson,  Henry  Hudson's  charming  portrait  of  the  unknown 
Mrs.  Curtis  (xlviii),  and  Elizabeth  Judkin's  portrait  of  the  famous 
actress,  34rs.  Abington  (xliii).  In  fact,  mezzotint  seems  to  me  an 
art  in  which  lack  of  real  artistic  power  is  easily  hidden  in  the 
delightful  results  that  even  unpractised  hands  can  achieve.  How 
poor  even  the  greatest  of  the  English  mezzotinters  can  be  when 
wandering  a  little  from  the  regular  path  is  exemplified  in  the  extra- 
ordinary lack  of  structural  coherence  of  John  Jones's  View  from 
Richmond  Hill,  after  Reynolds. 


JOHN  RAPHAEL  SMITH 

With  the  Wards  we  enter  on  a  greater  variety  of  subject,  landscapes 
and  rustic  subjects  after  Morland  becoming  almost  as  numerous  as  the 
portraits.  Moreover  both  William  and  James  Ward  did  a  con- 
siderable amount  of  original  work,  William  producing  some  charming 
fancy  subjects  and  portraits,  and  James  chiefly  devoting  himself  to 
rustic  and  animal  studies.  Unfortunately  for  mezzotint  James  Ward 
turned  almost  entirely  to  painting  in  his  later  years.  It  is  more 
especially  with  the  Wards,  and  the  other  engravers  who  worked  after 
Morland,  that  one  finds  mezzotints  printed  in  colours.  In  the  earlier 
part  of  the  eighteenth  century  J.  C.  Le  Blon  had  experimented  with 
mezzotint  and  the  three-colour  process  (i.e.  using  three  or  even  four 
plates  in  the  printing),  but  his  methods  had  not  been  taken  up  by 
other  English  artists,  and  English  mezzotints,  when  printed  in 
colour,  are  practically  always  printed  from  the  single  plate.  This 
means  of  course  the  laborious  process  of  filling  the  plate  with  colour 
between  each  printing,  a  very  different  matter  to  the  washes  of 
colour  with  which  late  impressions  are  often  tinted  to  pass  as  real 
colour-prints.  They  are  more  correctly  called  coloured  or  tinted 
impressions,  not  colour-prints,  and  though  real  colour-printing  is  often 
combined  with  some  hand-tinting  in  the  impression,  it  may  be  taken 
as  a  general  rule  that  the  less  hand-tinting  the  better  the  print. 
Colour  in  the  eighteenth  century  was  far  more  generally  used  for 
stipple,  and  here  as  well  as  with  the  mezzotints  it  is  chiefly  the 
fancy  subjects,  and  only  rarely  the  portraits,  that  are  found  printed 
in  colour. 

One  of  James  Ward's  plates,  the  Hoppner  Children^  is  reproduced 
here  in  an  unfinished  as  well  as  a  completed  state  (liv  and  lv).  It  will 
serve  as  a  clear  demonstration  of  the  mezzotinter's  method  of  scraping 
out  his  lights  from  an  original  black  ground. 

With  Charles  Turner  and  S.  W.  Reynolds  one  reaches  a  turning- 
point  in  the  history  of  mezzotint.  Both  of  these  engravers  produced 
many  splendid  plates  almost  equal  to  the  work  of  J.  R.  Smith  and 
the  Wards,  but  one  feels  from  time  to  time  the  beginning  of  the 
decline.  But  the  deterioration  in  quality  is  much  more  evident  in 
Samuel  Cousins,  who  shows  a  greater  tendency  to  the  smooth  and 
mechanically  laid  surface,  in  which  technical  finesse  entirely  fails  to 
atone  for  the  loss  of  the  rich  deep  tones  of  the  greater  period. 
Probably  Lawrence  and  his  weaker  imitators,  with  their  love  of  glossy 
surfaces,  are  to  blame  for  the  decay  in  the  quality  of  the  tone  of 
mezzotint.  Something  also  may  be  due  to  the  use  of  steel  instead  of 
copper  for  a  short  period  from  about  1820,  a  practice  which  was  for 

9 


GREAT  ENGRAVERS 

some  time  advertised  as  a  matter  of  pride  in  the  inscriptions  on  the 
plates.  But  the  hardness  of  surface  and  power  of  yielding  extensive 
editions,  which  was  its  objective,  was  soon  found  to  be  equally  well 
served  by  coating  the  copper-plate  by  electrolysis  with  a  thin  plating 
of  steel,  and  that  is  the  regular  method  in  use  at  the  present  day 
when  a  copper-plate  is  put  into  commerce  for  a  large  edition. 

With  the  decay  of  portrait,  mezzotint  was  finding  a  fresh  field  in 
landscape,  and  its  vitality  is  shown  in  the  splendid  series  of  plates 
that  make  up  J.  M.  W.  Turner's  Liber  Studiorum.  Turner  himself 
did  the  outline  etching  for  the  majority  of  this  series,  and  generally 
left  it  to  more  professional  engravers,  such  as  Charles  Turner, 
William  Say,  and  Dunkarton,  to  add  the  tone  by  means  of  mezzo- 
tint on  the  basis  of  his  monochrome  drawings.  In  a  few  cases 
Turner  was  his  own  mezzotinter.  Apart  from  the  plates  Turner 
scraped  for  the  Liber  Studiorum,  some  eleven  plates  in  pure  mezzotint, 
commonly  called  the  Sequels  to  the  Liber,  were  found  in  his  studio  at 
his  death.  Original  impressions  from  these  are  of  extreme  rarity, 
but  several  of  them  have  been  printed  from  at  later  periods.  The 
impression  we  reproduce,  the  Study  of  Clouds  (lxiii),  is  one  of  these, 
pulled  by  the  late  Sir  Seymour  Haden. 

Constable  was  even  more  successful  than  Turner  in  the  repro- 
duction of  his  landscape  by  mezzotint.  In  David  Lucas  he  found 
one  of  the  most  gifted  of  all  the  English  mezzotinters,  with  an 
extraordinary  talent  for  interpretation.  It  is  remarkable  how  much 
of  the  quality  of  Constable's  painting,  even  to  its  colour  values,  is 
preserved  in  Lucas's  plates. 

The  most  interesting  work  in  modern  mezzotint  has  also  been  in 
landscape,  for  it  is  here  that  the  art  is  less  fettered  by  tradition. 
The  late  Sir  Seymour  Haden  and  Sir  Frank  Short  have  perhaps 
done  the  best  work,  but  many  recent  etchers  might  be  cited  for 
occasional  plates  in  mezzotint.  Some  of  Sir  Frank  Short's  plates  after 
Peter  De  Wint  and  after  unpublished  drawings  of  the  Liber 
Studiorum  quite  equal  the  best  mezzotints  of  Turner's  contemporaries. 

Nevertheless  it  has  to  be  confessed  that  the  growth  of  photo- 
gravure has  done  its  best  to  kill  the  art  of  mezzotint.  The  general 
public  calls  for  reproductions  of  pictures,  and  does  not  stop  to 
think  of  the  quality  of  the  tone,  nor  of  the  value  of  interpretation  in 
the  hands  of  a  real  artist-engraver.  What  it  demands  is  the  fidelity 
of  the  photographer,  not  a  print  which  is  in  itself  a  real  work  of  art. 
But  in  spite  of  these  obstacles  there  are  still  a  few  mezzotinters 
(apart  from  the  original  landscape  etchers)  who  remain  faithful  to 

10 


JOHN  RAPHAEL  SMITH 

the  old  tradition.  And  it  can  at  least  be  said  that  many  of  them  far 
surpass  the  average  quality  of  mezzotints  produced  by  the  followers 
of  Lawrence  and  Landseer.  For  the  sake  of  this  remnant,  and  for 
the  sake  of  fostering  discernment  in  the  public  taste,  everything 
should  be  done  to  keep  the  art  alive.  In  spite  of  its  glories 
being  largely  in  the  past,  we  would  be  the  last  to  speak  of  it  as 
dead. 


1 1 


BOOKS  OF  REFERENCE 

Chelsum,  James.  A  History  of  the  Art  of  Engraving  in  Mezzotinto. 
Winchester  1786 

Laborde,  Leon  de.  Histoire  de  la  Gravure  en  Maniere  Noire.  Paris 
1839 

Rawlinson,  W.  G.  Turner's  Liber  Studiorum :  a  Description  and  a 
Catalogue.     London  1878.     (2nd  ed.  1906) 

Chaloner  Smith,  John.  British  Mezzotinto  Portraits.  4  vols.  London 
1883.  (The  Standard  Catalogue  for  British  Mezzotinters  until  the 
beginning  of  the  Nineteenth  Century) 

Whitman,  Alfred.     The  Masters  of  Mezzotint.     London  1898 
Valentine  Green.     London  1902 
Samuel  William  Reynolds.      London  1903 
Samuel  Cousins.     London  1904 
Charles  Turner.     London  1907 

Frankau,  Julia.     John  Raphael  Smith,  his  life  and  works  (with  a  portfolio 
containing  facsimile  reproductions  of  fifty  examples).     London  1902 
William    Ward,  A.R.A.,  James   Ward,    R.A.,   their    lives   and    works. 
London  1904 

Goodwin,  Gordon.     James  McArdell.     London  1903 

Thomas  Watson,  James  Watson,  Elizabeth  Judkins.     London  1904 

Davenport,  Cyril.     Mezzotints  (Connoisseurs'  Library).     London  1904 

British  Museum.  Guide  to  an  Exhibition  of  Mezzotint  Engravings, 
chiefly  from  the  Cheylesmore  Collection,     London  1905 


12 


LIST  OF  PLATES 

The  following  abbreviations  are  used  :    C.  S.  =  Chaloner  Smith  ; 
R.  =  Rawlinson  ;  W.  =  Whitman  (see  Books  of  Reference) 

John  Raphael  Smith.  Louisa 
Cathcart,  Viscountess  Stormont 
(Romney).  Frontispiece.  C.  S. 
159  [before  1] 

Thomas  Frye.  Queen  Charlotte, 
Wife  of  George  IIL  1.  C.  S. 
1  [before  1] 

James  McArdell 

Mary  Panton,  Duchess  of  Ancaster 
(Hudson).     11.     C.  S.  1,  1 


Lady  Mary  Coke  (Ramsay),  in. 
C.  S.  43  [before  1] 

Anne  Day,  afterwards  Lady  Fen- 
houlet  (Reynolds).  iv.  C.  S. 
53  [before  1] 

Richard  Houston.  The  Man  with 
the  Knife  (Rembrandt),  v.  C.  S. 
146  [between  1  and  Ii] 

Edward  Fisher 

Hon.  George  Seymour  Conway, 
afterwards  Lord  George  Seymour 
(Reynolds),     vi.     C.  S.  10  [1] 

David  Garrick  between  Tragedy  and 
Comedy  (Reynolds),  vn.  C.  S, 
20,  1 


Laurence  Sterne  (Reynolds). 
C  S,  56,  1 


VIII. 


John  Dixon.  William  Robert 
Fitzgerald,  2nd  Duke  of  Leinster 
(Reynolds),     ix.     C.  St  22,  1 

James  Watson 

Mrs.  Catherine  Bunbury  (Reynolds). 
x.     C.  S.  18,  1 


Mrs.  .Collier  (Reynolds),  xi.  C.  S. 
32>  I 

William  Pether.  Artists  drawing 
from  a  statuette  of  a  gladiator 
(Wright),     xii.     C.  S.  45,  1 

Richard  Earlom.  The  Life  School 
of  the  Royal  Academy  (Zoffany). 
xiii.     C,  S.  1  [between  1  and  11] 

Interior  of  the  Pantheon,  London 
(Brandoin).     xiv.     C.  S.  45 

John  Finlayson.  Elizabeth  Gun- 
ning, Duchess  of  Argyll  (Read). 
xv.     C.  S.  1, 11 

Valentine  Green 
Mrs.  Maria  Cosway  (Maria  Cosway). 
xvi.     C.  S.  29  [1] 

Valentine  Green  (Abbott),  xvn. 
C.  S.  57,  11 

Sir  Joshua  Reynolds  (Reynolds), 
xviii.     C.  S.  no,  1 

Mary  Isabella  Somerset,  Duchess  of 
Rutland  (Reynolds),  xix.  C.  S. 
115,1 

Emily  Mary  Hill,  Countess  of 
Salisbury  (Reynolds),  xx.  C.  S. 
1 16,  1 

The  Ladies  Laura,  Charlotte  Maria, 
and  Anne  Horatia  Waldegrave 
(Reynolds),     xxi.      C.  S.  133,  1 

Thomas  Watson 

Catherine  Moore,  Lady  Bampfylde, 
(Reynolds),     xxn.     C.  S.  2,  1 


GREAT  ENGRAVERS 

George  White,  pavior  and  artist's 
model,  as  "Resignation"  (Rey- 
nolds), xxm.  C.  S.  43  [be- 
fore i] 

William  Dickinson 
Sir   John  Fielding  (Peters),     xxiv. 
C.  S.  20  [before  1] 

Elizabeth  Houghton,  Lady  Taylor 
(Reynolds),     xxv.     C.  S.  80 

John  Jones 

James  Boswell  (Reynolds),  xxvi. 
C.  S.  8  [before  1] 

Edmund  Burke  (Romney).  xxvu. 
C.  S.  1 1  [before  1] 

Mrs.  Charlotte  Davenport  (Romney). 
xxviii.     C.  S.  17 

Miss  Frances  Kemble  (Reynolds), 
xxix.     C.  S.  45 

John  Raphael  Smith 
Mrs.  Elizabeth  Carnac  (Reynolds), 
xxx.     C.  S.  31,  1 

Katherine  Mary  and  Thomas  James 
Clavering  (Romney).  xxxi.  C.  S. 
41  [between  1  and  11] 

Emma  Lyon,  Lady  Hamilton,  as 
"Nature"  (Romney).  xxxn.  C.  S. 
76  [before  1] 

Lady  Caroline  Montagu  (Reynolds). 
xxxiii.     C.  S.  1 10,  1 

Mrs.  Elizabeth  Montagu  (Rey- 
nolds),    xxxiv.     C.  S.  112,  1 

Mrs.  Sophia  Musters  (Reynolds), 
xxxv.     C.  S.  1 20,  1 

Hon.       Mrs.       Henrietta       North 

(Romney).  xxxvi.   C.  S.  122,  11 
14 


Mrs.  Philadelphia  Payne-Gallwey 
(Reynolds),  xxxvu.  C.  S.  133,  1 

Miss  Sneyd  as  "  Serena  "  (Romney). 
xxxviii.     C.  S.  190  [1] 

Hon.  Mrs.  Eliza  Stanhope  (Rey- 
nolds),    xxxix.     C.  S.  158,  1 

Louisa,  Vicountess  Stormont.  C.  S. 
159  [before  1].     See  Frontispiece 

Love  in  her  Eyes  sits  playing  (Peters). 
xl.     C.  S.  187,  1 

James  Walker 

Margaret     Caroline,     Countess    of 

Carlisle  (Romney).    xli.    C.  S.  2 

[before  1] 

Mrs.  Sophia  Musters  (Romney). 
xlii.     C.  S.  10,  11 

Eliza.beth  Judkins.  Mrs.  Abington 
(Reynolds),     xliii.     C.  S.  1,1 

Charles  Howard  Hodges.  Mrs. 
Williams-Hope  (Reynolds),  xliv. 
C.  S.  18,  1 

William  Doughty.  Dr.  Samuel 
Johnson  (Reynolds),  xlv.  C.  S. 
2,1 

Giuseppe  Marchi.  Oliver  Gold- 
smith   (Reynolds),     xlvi.     C.  S. 

George  Keating.  Georgiana 
Spencer,  Duchess  of  Devonshire 
(Reynolds),     xlvii.     C.  S.  3,  1 

Henry  Hudson.  Mrs.  Curtis 
(Walton),     xlviii.     C.  S.  1 

Gainsborough  Dupont.  The  Elder 
Princesses  (daughters  of  George 
III)  (Gainsborough),  xlix.  C.  S. 
5,  1 


JOHN  RAPHAEL  SMITH 


William  Ward 

The  Misses  Marianne  and  Amelia 

Franldand  (Hoppner).     l.     C.  S. 

38,i 
A  Carrier's  Stable  (Morland).     LI. 

J.  F.  50,  in 

The  Pledge  of  Love  (Morland).  lii. 
J.  F.  222 

James  Ward 

Mrs.  Elizabeth  Margaret  Hibbert 
(Hoppner).     liii.     C.  S.  26,  1 

The  Hoppner  Children  (Hoppner). 
liv.     C.  S.  27.     Unfinished  state 

The  same.  lv.  Fourth,  and  finished 
state 

Miss  Frances  Vane  (afterwards  Mrs. 
Taylor)  as  Miranda  (Hoppner). 
lvl     J.   F.  289  (W.  Ward) 

The  Bird-keeper's  Repast.  lvii. 
C.  S.  44.     J.  F.  9 


Charles  Turner 

Lady  Louisa  Manners  (Hoppner). 
lviii.     W.  347,  11 

Sir   Walter   Scott    (Raeburn).      lix. 

w.5,4 

Samuel  William  Reynolds 
Elizabeth   Burrell,    Marchioness    of 
Exeter     (Lawrence).      lx.       W. 

George  Clint.  Mrs.  Siddons 
(Lawrence),     lxi 

J.  M.  W.  Turner 

Ben  Arthur,  from  the  "  Liber  Studi- 
orum."  lxii.  R.  69,  first  published 
state.  Etched  by  Turner,  finished  in 
mezzotint  by  Thomas  Lupton 

Study  of  Clouds,  lxiii.  An  un- 
published plate,  from  the  series 
generally  called  the  "  Sequel  to  the 
Liber  Studiorum  " 

David  Lucas.  Spring  (Constable). 
lxiv 


The  title-page  border  is  from  a  title-page  to  Graglia's  "Martial,"  engraved 
by  Bartolozzi  after  Cipriani  (1783). 

The   tail-pieces  are  from   woodcuts    by  Luke    Clennell    after    Thomas 
Stothard  for  Roger's  "  Pleasures  of  Memory  "  18 10. 


15 


I.  THOMAS  FRYE.   QUEEN  CHARLOTTE,  WIFE  OF  GEORGE  III. 
C.S.  I  [before  i] 
Mezzotint  engraver,  and  painter  on  china  ;  b,  Dublin,  1710  j   d.  1762  ; 
w.  in  London 


J.  R.  S.  I 


II.  JAMES      McARDELL.       MARY,     DUCHESS     OF     ANCASTER 
(HUDSON).    C.S.  i,  i 
Mezzotint  engraver  ;   b,  Dublin,  ab.  1729  ;  d.  1765  ;  w.  in  London 


III.  JAMES  McARDELL.    LADY  MARY  COKE  (RAMSAY).    C.S.  43 
[before  1] 


IV.  JAMES    McARDELL.       ANNE    DAY,    AFTERWARDS    LADY 
FENHOULET  (REYNOLDS).    C.S.  53  [before  1] 


V.  RICHARD  HOUSTON.    THE  MAN  WITH  THE  KNIFE  (REM- 
BRANDT).   C.S.  146  [between  1  and  11] 
Mezzotint  engraver;   b.  Dublin,  ab.  1721  ;  d.  1775  ;  w.  in  London 


VI.  EDWARD  FISHER.  THE  HON.  GEORGE  SEYMOUR  CONWAY, 
AFTERWARDS  LORD  GEORGE  SEYMOUR  (REYNOLDS). 
C.S.  10  [i] 

Mezzotint  engraver;   b.   Ireland,  1730;   d.  ab.  1785  ;   w.  in  London 


VII.  EDWARD  FISHER.    DAVID  GARRICK  BETWEEN  TRAGEDY 
AND  COMEDY  (REYNOLDS).    C.S.  20,  1 


VIII.  EDWARD    FISHER.      LAURENCE     STERNE     (REYNOLDS). 

C.S.  56,  1 


IX.  JOHN   DIXON.     WILLIAM,   SECOND   DUKE   OF   LEINSTLR 
(REYNOLDS).    C.S.  22,  1 
Mezzotint  engraver;    b.  Ireland,  ab.   1730;    d.  after   1800;    w.  in 
London 


J.  R.  S.  2 


X.    JAMES  WATSON.  MRS.  CATHERINE  BUNBURY  (REYNOLDS). 
C.  S.  18, 1 
Mezzotint  engraver  ;  b.  Ireland,  1 739  (?)  ;  d.  1790  ;  w.  in  London, 


XT.  JAMES  WATSON.  MRS.  COLLIER  (REYNOLDS).   C.S.32,3 


XII.  WILLIAM  PETHER.    ARTISTS  DRAWING  FROM  A  STATU- 
ETTE OF  A  GLADIATOR  (WRIGHT).  C.S.  45,  1 
Mezzotint  engraver ;   b.  Carlisle,  ab.  1738  ;   d.  1821  ;  w.  in  London, 
and  Bristol 


■ 

\     i 

■ 

- 

XIII.  RICHARD  EARLOM.    THE  LIFE  SCHOOL  OF  THE  ROYAL 
ACADEMY  (ZOFFANY).  C.S.  I  [between  i  and  n] 
Mezzotint  and  stipple  engraver,  and  etcher  ;    b.   17^.3  ;  d.   1 822  j 
w.  in  London 


XIV.  RICHARD    EARLOM.      INTERIOR    CF    THE    PANTHEON 
LONDON  (BRANDOIN).  C.S.45 


XV.  JOHN  FINLAYSON.    ELIZABETH  GUNNING,  DUCHESS  OF 
ARGYLL  (READ).    C.  S.  I,  n 
Mezzotint  engraver ;  b.  ab,  1730;  cl  1776}  W.  in  London 


XVI.  VALENTINE    GREEN.      MRS.    MARIA    COSWAY    (MARIA 
COSWAY).    C.S.29W 

Mezzotint,  stipple,   and  aquatint  engraver;    b.   1739;    d.   1813 ; 
w.  in  London 


XVII.  VALENTINE    GREEN.     PORTRAIT    OF    THE    ENGRAVER 
(ABBOTT).    C.  S.  57,  ii 


J.  R.  s.  3 


XVIII.  VALENTINE  GREEN.  SIR  JOSHUA  REYNOLDS  (REYNOLDS). 
C.S.  no,  i 


IX.  VALENTINE    GREEN.     MARY,    DUCHESS    OF    RUTLAND 
(REYNOLDS).    CS.  115,1 


XX.  VALENTINE  GREEN.    EMILY,   COUNTESS   OF   SALISBURY 
(REYNOLDS).    C.  &.  n6,  i 


XXI.  VALENTINE      GREEN.        THE      LADIES      WALDEGRAVE 
(REYNOLDS).    C.S.  133, 1 


XXII.  THOMAS     WATSON.       CAROLINE,     LADY     BAMPFYLDE 

C.  S.  2,  I 

Mezzotint  and  stipple  engraver;    b.  1743  (or  1750?);    d.  1781  , 
yv.  in  London  r  '     ? 


XXII.  THOMAS    WATSON.      CAROLINE,    LADY    BAMPFYLDE. 

C  b.  2,  I 

Mezzotint  and  stipple  engraver;    b.  1743  (or  1750?):    d.  1781 . 
yv.  in  London  T  ■  '     ? 


XXIII.  THOMAS    WATSON.      GEORGE    WHITE,    PAVIOR    AND 
ARTISTS     MODEL,     AS     "RESIGNATION."      C.     S.     43 

[before  i] 


XXIV.  WILLIAM  DICKINSON.    SIR  JOHN  FIELDING  (PETERS). 
C.  S.  20  [before  1] 

Mezzotint  and  stipple  engraver  ;  b.  1746  ;  d.  1823  ;  w.  in  London, 
and  Paris 


XXV.  WILLIAM     DICKINSON.       ELIZABETH,    LADY    TAYLOR 
(REYNOLDS).    C.S.  80 


J.  R.  s.  4 


XXVI.  JOHN  JONES.     JAMES   BOSWELL   (REYNOLDS).     C.   S.    8 
[before  i] 

Mezzotint  and  stipple  engraver;    b.  ab.  1745;    d.  1797;    w.  in 
London 


XXVII.  JOHN   JONES.    EDMUND   BURKE   (ROMNEY).     C.   S.   u 
[before  i] 


XXVIII.  JOHN  JONES.  MRS.  CHARLOTTE  DAVENPORT  (ROMNEY). 
C.  S. 17 


XXIX.  JOHN  JONES.    MISS  FRANCES  KEMBLE.    C.  S.  45 


XXX.  JOHN    RAPHAEL    SMITH.      MRS.    ELIZABETH    CARNAC 
(REYNOLDS).    C.  S.  31,  1 

Mezzotint  and  stipple  engraver,  painter,  and  draughtsman  ;  b.  Derby, 
1752  ;   d.  1812  ;   w.  in  London 


:*•£" 


XXXI.  JOHN     RAPHAEL     SMITH.     KATHERINE     MARY    AND 
THOMAS    JOHN    CLAVERING     (ROMNEY),      C.     S.    41 

[between  1  and  11] 


XXXII.  JOHN  RAPHAEL  SMITH.    EMMA,  LADY  HAMILTON  AS 
"  NATURE  "  (ROMNEY).    C.  S.  76  [before  1] 


XXXIII.  JOHN  RAPHAEL  SMITH.   LADY  CAROLINE  MONTAGU. 
C.S.  i  io}  i 


j.    R.  S.   5 


XXXIV.  JOHN  RAPHAEL  SMITH.    MRS,  ELIZABETH  MONTAGU 
(REYNOLDS).    C.  S.  112,  1 


XXXV.  JOHN     RAPHAEL     SMITH.       MRS.     SOPHIA    MUSTERS 
(REYNOLDS;.    C.  S.  120,  1 


XXXVI.  JOHN  RAPHAEL  SMITH.    THE  HON.  MRS.  HENRIETTA 
NORTH  (ROMNEY).  C.S.  122,  11 


XXXVII.  JOHN  RAPHAEL  SMITH.  MRS.  PHILADELPHIA  PAYNE- 
GALLWEY  (REYNOLDS).    C.  S.  133,  1 


XXXVIII.  JOHN  RAPHAEL  SMITH.   MISS  SNEYD  AS  "  SERENA 
(ROMNEY).    C.  S.  190  [1] 


XXXIX.  JOHN    RAPHAEL    SMITH.      THE    HON.    MRS.    ELIZA 
STANHOPE  (REYNOLDS).    C.  S.  158, 1 


XL.  JOHN  RAPHAEL  SMITH.  LOVE  IN  HER  EYES  SITS  PLAYING 
(PETERS).    C.  S.  187, 1 


XLI.  JAMES  WALKER.    MARGARET  CAROLINE,  COUNTESS  OF 
CARLISLE  (ROMNEY).  C.  S.  2  [before  1] 
Mezzotint  engraver  ;   b.  1748  ;   d.  1808  ;  pupil  of  Valentine  Green; 
w.  in  London,  and  for  eighteen  years  after  1784  in  St.  Petersburg, 
as  engraver  to  the  Empress  Catherine 


J.  R.  s.  6 


XLII.  JAMES    WALKER.      MRS.    SOPHIA    MUSTERS    (ROMNEY) 
C.  S.  10,  ii 


XLIII.  ELIZABETH  JUDKINS.     MRS.  ABINGTON   (REYNOLDS). 
C.S.  1,1 

Mezzotint  engraver ;  w.  ab.  1772-1775,  in  London 


XLIV.  CHARLES     HOWARD     HODGES.    MRS.    WILLIAMS-HOPE 
(REYNOLDS).    C.  S.  18,  i 
Mezzotint  engraver;    b.  1764  ;   d.  1837;    pupil  of  J.  R.  Smith; 
w,  in  England,  and  (after  ab.  1794)  ^n  Amsterdam 


XLV.  WILLIAM    DOUGHTY.      DR.    SAMUEL    JOHNSON    (REY- 
NOLDS).   C.  S.  2,  I 

Mezzotint  engraver  ;   d.  1782  ;   b.  at  York;   w.  in  London 


XLVI.  GIUSEPPE  MARCHI.    OLIVER  GOLDSMITH  (REYNOLDS). 
C.S,  7,  n 

Mezzotint  engraver;    b.  ab.   1735;  d.   1808;    w.  in  Rome,  and 
London ;   an  assistant  of  Sir  Joshua  Reynolds 


XLVII.  GEORGE  KEATING.    GEORGIANA,  DUCHESS  OF  DEVON- 
SHIRE (REYNOLDS).    C.  S.  3,  1 
Mezzotint  and  stipple  engraver ;  w.  ab.  1784-1797,  in  Ireland 
and  London 


XLVIII.  HENRY  HUDSON.   MRS.  CURTIS  (WALTON).   C.  S. 

Mezzotint  engraver  ;  w.  ab.  1782-1793,  in  England 


XLIX.  GAINSBOROUGH  DUPONT.  THE  ELDER  PRINCESSES, 
DAUGHTERS  OF  GEORGE  III  (GAINSBOROUGH). 
C.  S.  5,  i 

Mezzotint  engraver  ;  b.  1767  ;  d.  1797  ;   nephew  of  the  Painter; 
vs.  in  London 


J.  r.  s.  7 


L.  WILLIAM   WARD.     THE   MISSES   MARIANNE   AND   AMELIA 
FRANKLAND  (HOPPNER).  C.  S.  38,  1 
Mezzotint  and  stipple  engraver;    b.  1766;    d.  1826;    pupil  of  J.  R. 
Smith  ;  w.  in  London 


LI.  WILLIAM    WARD.      A    CARRIER'S    STABLE    (MORLAND). 
J.  F.  50,111 


LII.  WILLIAM    WARD.     THE    PLEDGE    OF   LOVE    (MORLAND). 
J.  F.  222 


LIII.  JAMES  WARD.  MRS.  HIBBERT  (HOPPNER).  C.S.  26,  1 

Mezzotint  engraver,  and  painter;  b.  1769;  d.  1859;  pupil  of  his 
elder  brother  W.  Ward  ;  w.  in  London  ;  the  latter  part  of  his  life 
entirely  devoted  to  animal  and  landscape  painting 


LV.  JAMES    WARD.      THE    HOPPNER    CHILDREN    (HOPPNER). 
C.  S.  27.    FOURTH,  AND  FINISHED  STATE 

LIV.  JAMES    WARD.     THE     HOPPNER    CHILDREN    (HOPPNER). 
C.  S.  27.    UNFINISHED  STATE 


LVI.  JAMES  WARD.   MISS  FRANCES  VANE  (AFTERWARDS  MRS 
TAYLOR)  AS  MIRANDA  (HOPPNER).  J.  F.  289  (W.  WARD) 


LVIL  JAMES   WARD.    THE   BIRD-KEEPER'S   REPAST.     C.   S.   44. 
J.  F.  9 


LVIII.  CHARLES  TURNER.  LADY  LOUISA  MANNERS  (HOPPNER) 

W.  347,  ii 

Mezzotint,  stipple,  and  aquatint  engraver  ;    b.   1774  ;    d.   1857  ; 

W.  in  London 


J.  R.S.8 


LIX.  CHARLES    TURNER.      SIR    WALTER    SCOTT    (RAEBURN). 
W.514 


LX.  SAMUEL  WILLIAM  REYNOLDS.  ELIZABETH,  MARCHIO- 
NESS OF  EXETER  (LAWRENCE).  W.  87,  11 
Mezzotint  engraver,  and  water-colour  painter;  b.  1773;  d.  1835; 
w.  in  London,  and  (for  some  time  after  about  1826)  in  Paris,  engraving 
numerous  subjects  after  Gericault,  Horace  Vernet,  Delaroche,  and 
other  French  painters 


LXI.  GEORGE  CLINT.  MRS.  SIDDONS  (LAWRENCE) 

Mezzotint,  crayon,  and  line  engraver;    b.  1770;  'd.   1854;    W.  in 
London  :  best  known  for  his  theatrical  portraits 


LXII.  J.  M.  W.  TURNER.  BEN  ARTHUR,  FROM  THE  "LIBER 
STUDIORUM."  R.  69.  FIRST  PUBLISHED  STATE. 
ETCHED  BY  TURNER,  AND  FINISHED  IN  MEZZOTINT 
BY  THOMAS  LUPTON 

James  Mallord  William  Turner.     Landscape  painter,   etcher,  and 
mezzotint  engraver  ;  b.  1775  ;  d.  1851  ;  w.  in  London 
Thomas   Goff  Lupton.    Mezzotint   engraver;   b.   1791  ;   d.  1873; 
w.  in  London 


LXIII.  J.  M.  \V.  TURNER.  STUDY  OF  CLOUDS.  AN  UNPUB- 
PUBLISHED  PLATE,  FROM  THE  SERIES  GENERALLY 
CALLED  THE  "  SEQUEL  TO  THE  LIBER  STUDIORUM  " 


LXIV.  DAVID  LUCAS.  SPRING  (CONSTABLE) 

Mezzotint  engraver;  b.  1802;  d.  1881  ;  w.  in  London;  almost 
exclusively  devoted  to  the  reproduction  of  John  Constable's 
landscapes 


»    «  »      »1 


PRINTED  AT  THE  BALLANTYNE  PRESS  LONDON 


